12.07.2013

In the House of the Hangman 1383

Using “a mesh of
point contacts connecting to chalcopyrite and iron pyrite to make crude
amplifiers out of rocks.” Which is and isn’t a paraphrase of Amy King’s “In the
end, the only endgame is panic, / so let’s not charge that on full blast
just yet. / … / Can I buy my place on the moon already? / I’ll go there
with you, to the place of infinite space / if you respect Amerika, which still
hurts / my teeth with all the gnawing and iCloud.” Oh, Jacob, are those
poor art students really your enemy? That’s so sad. The blackbird
has stopped singing now. And something
the clouds something settles ...
I’m
talking about the SECRET electronic equipment. Ss. Ss. Does anyone recognize themselves sufficiently up a
hand on repeat in ostriches to get the to get a little less execution that you
would have had before the plussa bit on all extremes there and then imagine
that you should have it so every morning for a month! and sometimes well into
the day! It comes when you least expect it and. You know those people who look like harmless members of
society, but they’re actually hiding a razor in the space between their lower
lip and their teeth so that if they encounter serious danger, they can
spit-and-slit in two seconds flat? Bill McKibben I’m sure you know him / he was
telling a story / of how in a place in Tibet / people started planting trees / and
this had changed / the speed of the wind / so people instead of being attacked
/ by a brutal wind / would be / TOUCHED / by a soft wind / [instead] / “a
compendium of creaks and inaudibilities” / we are a lot happier / than
circumstances / would suggest / and what a food source. You can sense that in
the very beginning of the play, in stage directions that are crowded with both
props and language: from “panties” to “Harajuko cum Cracker Jack look,” from
“liquid eyeliner” to “kiddie Oedipus.” This makes me think not just of the
current “austerity” obsession of American culture with its decidedly
hetero-normative family values (if a family has to take care of its finances,
shouldn’t the government etc etc), but also John Durham Peter’s “Speaking into
the Air”, in which he argues that “communication failure” inheres in
“communication”, e.g., THE SMEAR: It was
the Year of the Scab and there was no room for people who act like lawnfires
when they should be modeling the latest symptoms. PURSED AND PUCKERED: [Hisses
at XXX], e.g., I’m vextipated / in my
boo shank, e.g., I have an image from Ernst Bloch’s The Spirit of Utopia in my head (a
really interesting book on many of these questions, whose title is currently
being ripped off for some idiotic show at the Whitechapel Gallery) of
the “dance around the golden calf,
or better, just the calf-skin with nothing underneath.” For this
reason, I’ve come to appreciate the self-conscious barbarism of Mies’ monument.
There is something fitting about the unrelenting gnarliness of the brickwork in
embodying Mies’ trademark perfect volumes, proportions, and harmonious
distribution. Mies went to great lengths to put this symbolism across: in its
cantilevered slabs and brazen use of unrefined materials, made up of jagged
bricks held together by unsanded grout organized around a steel-and-concrete
frame, bricks stacked some twenty feet high, assembled from the bullet-riddled
remains of buildings damaged or destroyed during the Spartakusaufstand. “You Can
Deserve It!” I’m glad they let this swimming pool run to rot. There are
tadpoles all through it ... very small ones. And those insects that rise and
descend clutching silver bubbles of air.

[Note: Sources:
Geoff Manaugh, and Ryan Jordan, as quoted in Manaugh’s “Alternative Inputs”, at
h BLDG/BLOG, 11 Jul
013;
JBR, but see next; Amy King, “Where Parents End Governments
Begin”, at Poetry, Summer 013; JBR, but see Jacob Bard-Rosenberg, as quoted in “Out to
Lunch, Jacob Bard-Rosenberg: Letter to Goldsmiths Art Students”, at Association of
Musical Marxists, 10 Jul 013; Stina Kajaso, “Veronika Maffioso” (tr.
Google), at SONOFDAD, 11 Jul 013 (much of which has since
been deleted and amended); KTB, in “Reviews”, at Vice, 11 Jul 013; Cecilia
Vicuña, and Rosa Alcalá, as quoted in David Berridge, “Spit Temple: The Selected Performances of
Cecilia Vicuña, edited and translated by Rosa Alcalá (Brooklyn: Ugly Duckling
Presse, 2012)”, at Intercapillary
Space, 11 Feb 013; JBR; Anne
Boyer, “This soliloquy of a grindcore …”, at Money City Sick as
Fuck, 11 Jul 013; Johannes
Göransson, and Lara Glenum, Pop Corpse,
as quoted in Göransson’s “Humiliation and ‘Spoiled Identity’: McSweeney,
Koestenbaum and Glenum”, at Montevidayo, 11 Jul
013; JBR; Jacob Bard-Rosenberg, “A
Letter to Goldsmiths art students on capitalism, art and pseudo-critique”, in
“Out to Lunch, Jacob Bard-Rosenberg: Letter to Goldsmiths Art Students”, at Association of
Musical Marxists, 10 Jul 013; Ross Wolfe, “Mies’ Memorial to Rosa Luxemburg and Karl
Liebknecht (1926)”, at The Charnel-House,
10 Jul 011 (“To his credit, Mies took seriously Luxemburg’s famous dilemma of
‘socialism or barbarism’ (adapted from some lines by Engels written toward the
end of his life). Luxemburg’s pronouncement of this opposition was not meant to
be regarded as some sort of perennial choice haunting humanity throughout its
existence, but rather was historically specific to her own moment, as Second International
Marxism entered into profound crisis. Since socialism did not come to pass, as
the world revolution stopped short, it is necessary that everything that
transpired afterward be regarded as barbarism.”); Nancy Friedman, “You Can Deserve It!”, at Fritinancy, 11 Jul
013; William Keckler, “Untitled”, at Joe Brainard’s
Pyjamas (The Sequel), 11 Jul 013]

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